Course |
FILM 109 A The History and Aesthetics of Film |
|
|
Professor |
Gerard Dapena |
|
|
CRN |
17196 |
|
|
Schedule |
Wed 9:30 - 12:30 pm AVERY 110 Tu
(screening) 7:00 – 10:00pm AVERY 110 |
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|
Distribution |
OLD: A |
NEW: Analysis
of Art
|
A one-semester survey course comprising weekly
screenings and lectures designed for first-year students, especially those who
are considering film as a focus of their undergraduate studies. Films by
Griffith, Chaplin, Keaton, Renoir, Rossellini, Hitchcock, Deren, and others are
studied. Readings of theoretical works by authors including Vertov, Eisenstein,
Pudovkin, Munsterberg, Bazin, and Arnheim. This course is for first-year
students only.
Course |
FILM 167 Survey of Media Art |
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|
Professor |
Ed Halter |
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|
CRN |
17191 |
|
|
Schedule |
Mon 1:30 -4:30 pm AVERY 110 Sun
(screening) 7:00 – 10:00 pm AVERY 110 |
|
|
Distribution |
OLD: F |
NEW: Analysis
of Art
|
An introduction to the history of moving-image art made
with electronic media, with a focus on avant-garde traditions. Topics include
video art, guerrilla television, expanded cinema, feminist media, Net art,
music video, microcinema, digital feature filmmaking and art made from video
games. This course is for first-year students only.
Course |
FILM 202 A Introduction to the Moving Image II: Video |
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|
Professor |
Jacqueline Goss |
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|
CRN |
17192 |
|
|
Schedule |
Mon 5:00 -8:00 pm AVERY 333 |
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|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
A continuation of the study of basic problems
(technical and aesthetical) related to the video medium.
Prerequisite:
Film 201
Course |
FILM 202 B Introduction to the Moving Image II: Video |
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|
Professor |
Les LeVeque |
|
|
CRN |
17195 |
|
|
Schedule |
Tu 1:30 -4:30 pm AVERY 333 |
|
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
A continuation of the study of basic problems
(technical and aesthetical) related to the video medium.
Prerequisite:
Film 201
Course |
FILM 202 C Introduction to the Moving Image I: Film |
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|
Professor |
Peter Hutton |
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|
CRN |
17200 |
|
|
Schedule |
Th 1:30 -4:30 pm AVERY 319 |
|
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
A continuation of the study of basic problems (technical
and aesthetical) related to the film medium.
Prerequisite:
Film 201
Course |
FILM 202 D Introduction to the Moving Image II: Film |
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|
Professor |
Peggy Ahwesh |
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|
CRN |
17202 |
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|
Schedule |
Wed 1:00 -4:00 pm AVERY 319 |
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|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
A continuation of the required sequence for
moderation. The practical study of basic technical and aesthetic issues
related to the film medium.
Prerequisite:
Film 201
Course |
FILM 203 Electronic Media: Digital Animation |
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|
Professor |
Jacqueline Goss |
|
|
CRN |
17194 |
|
|
Schedule |
Tu 9:30 - 12:30 pm AVERY 333 |
|
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
Cross-listed:
Integrated Arts
In this course we will make video and web-based
projects using digital animation and compositing programs (Macromedia Flash and
Adobe After Effects). The course is
designed to help students develop a facility with these tools and to find
personal animating styles that surpass the tools at hand. We will work to
reveal techniques and aesthetics associated with digital animation that
challenge conventions of storytelling, editing, figure/ground relationship, and
portrayal of the human form. To this
end, we will refer to diverse examples of animating and collage from film,
music, writing, photography, and painting.
Prerequisite:
familiarity with a nonlinear video-editing program. On-line registration
Course |
FILM 211 Screenwriting I |
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|
Professor |
Marie Regan |
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|
CRN |
17197 |
|
|
Schedule |
Wed 1:30 -4:30 pm AVERY 338 |
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|
Distribution |
OLD: B/F |
NEW:
Practicing Arts
|
An intensive workshop for committed
writers/cineasts. From an idea to plot, from an outline to full script ‘
character development and dramatic/cinematic structure. Continuous analysis of
students’ work in a seminar setting. Students who wish to participate in this
workshop should have a demonstrable background in film or in writing, and be
able to share their work with others. Limited enrollment, priority given to
Sophomores and Juniors, or by permission of the professor. Submission of work
and/or an interview prior to registration is recommended. On-line registration
Course |
FILM 214 Topics in History of Cinema |
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|
Professor |
Gerard Dapena |
|
|
CRN |
17193 |
|
|
Schedule |
Tu 1:30 -4:30 pm AVERY 217 Mon
(screening) 7:00 - 10:00 pm AVERY 110 |
|
|
Distribution |
OLD: A |
NEW: Analysis
of Art
|
This course seeks to provide students with an historical
overview of filmmaking in Latin America and an introduction to the theoretical
premises and aesthetic trends that have marked its development. Beginning with
the arrival of sound and ending with the return to popular genres (melodrama,
comedy, horror) in the 1980s and ’90s, the readings and film screenings will
illustrate, among other points, the question of national cinema and of film’s
role in promoting the idea of the nation; the struggle for economic viability;
the suitability of hermeneutic categories devised for European and Hollywood
cinema to the study of Latin America’s film production; the impact of Hollywood
cinema, Italian neo-realism and the French New Wave; the
continuity/discontinuity of generic paradigms and thematic concerns across time
and borders; the dichotomy of art cinema versus popular cinema; the idea of the
filmmaker as witness and cinema as an instrument for political and social
change; and possible links between film and literature (magical realism), the
visual arts (surrealism), and music (tango, bolero). Among the filmmakers whose
work will be screened and/or discussed are Luis Buñuel, Glauber Rocha, Jorge
Sanjinés, Patricio Guzmán, Maria Luisa Bemberg, and Fernando Solanas. Readings
will be in English, but students who wish to read materials in the original
Spanish are encouraged to do so, and those fluent enough may also write their
papers in Spanish. The coursework will entail regular attendance to lectures
and screenings, a midterm paper, and a final paper or exam.
Course |
FILM 231 Documentary Film Workshop |
|
|
Professor |
Peggy Ahwesh |
|
|
CRN |
17199 |
|
|
Schedule |
Th 1:30 -4:30 pm AVERY 333 |
|
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
Cross-listed: Human Rights
A video production workshop for students
interested in social issues, reportage,
home movies, travelogues and other forms of the non-fiction film. Working
in both small crews and individually, the students will travel locally to a
variety of locations to cover particular events, people and natural
phenomena. A final project, that is researched, shot and edited during
the second half of the semester, is required of each student. Please write the professor, detailing your
interest, experience and propose a project you might do if in the class. On-line
registration
Course |
FILM 235 Video Installation |
|
|
Professor |
Les LeVeque |
|
|
CRN |
17489 |
|
|
Schedule |
Wed 9:00 - 12:00 pm AVERY 116 / 333 |
|
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
This production course will investigate the
historical and critical practice known as video installation as a vehicle for
activating student composed projects. Since the beginning of video art artists
have experimented with installation. Wolf Vostell and Nam June Paik’s use of
multiple monitors in the 1960’s, Joan Jonas’ incorporation of video with live
performance, Juan Downey and Steina’s experiments with interactive laser discs,
the use of live feeds, large and small video projections on walls and objects,
imply complex shifts of narrative composition as well as temporal and spatial
relationships. Through readings and screenings our discussions will examine
this diffuse practice. Students will be encouraged to explore high and low tech
solutions to their audio visual desires and should be prepared to imagine the
campus as their canvas. Prerequisite:
Introduction to the Moving Image: Video/Film.
Course |
FILM 253 Political Video |
|
|
Professor |
Les LeVeque |
|
|
CRN |
17490 |
|
|
Schedule |
Wed 1:30 – 4:40 pm AVERY 217 |
|
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
This video production class will investigate the
work of film and video artists who have found it necessary to produce work that
is critical of a specific social or political situation. Whether
didactic, subversive, agit-prop, rant, provocation or documentation these works
employ inventive solutions to visual aesthetics and narrative structure that
rephrase normalized notions of communication and spectatorship. Throughout the
semester we will engage in an examination of these practices, past and present,
through the screenings of a wide range of experimental film and video art
including Guy Debord, Jonas Mekas, Carolee Schneemann, Martha Rosler, Antonio
Muntadas, Yvonne Rainer, Harun Farocki, Not Channel Zero, Craig Baldwin, The
Atlas Group, Byran Boyce, Critical Art Ensemble, Tony Cokes, and Speculative
Archive. Assigned readings of historical and theoretical texts will
augment the screenings and class discussions. Students will be expected
to apply these investigations to the production of three video projects. Prerequisite: Introduction to
the Moving Image: Video.
Course |
FILM 312 Advanced Screenwriting |
|
|
Professor |
Marie Regan |
|
|
CRN |
17198 |
|
|
Schedule |
Th 9:30 - 12:30 pm AVERY 338 |
|
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
In this intensive writing workshop, we will take
the skills learned in Screenwriting and use them to create a long form screenplay.
We begin the workshop with screenplay analysis then move on to develop a script
from outline through execution. Weekly writing assignments and class
critique are at the core of this workshop although issues in adaptation,
practicalities imposed by production and the role of screenwriting in the
marketplace will also be discussed. The goal of the course is the
completion of a long form script that reflects skillful use of the tools of
screenwriting to express a complex original idea. Interested students
should contact Prof. Regan by December 1st; enrollment by permission of
the instructor. On-line
registration
Course |
FILM 316 Film Production Workshop |
|
|
Professor |
Peter Hutton |
|
|
CRN |
17203 |
|
|
Schedule |
Fr 1:30 -4:30 pm AVERY 117 |
|
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
Members of the class will act as a production team
in planning, shooting and editing a short film. The hours will be irregular with
some work on weekends. Under simulated typical production conditions, students
will apply the knowledge acquired in various workshops and theory classes.
Students will solve technical and aesthetic problems under the close
supervision and instruction of the professor.
Course |
FILM 319 Film Aesthetics Seminar: On Reenactment |
|
|
Professor |
Peggy Ahwesh |
|
|
CRN |
17201 |
|
|
Schedule |
Th 10:00 am – 12:00pm AVERY 217 Th
(screening) 7:00 - 10:00 pm AVERY 110 |
|
|
Distribution |
OLD: A |
NEW: Analysis
of Art
|
This course will use weekly screenings to survey
the styles and meaning of reenactments, including remakes, homages,
reinterpretations, sequels, conspiracy rants and reruns to pose questions about
history, trauma, memory and forgetting, narrative and authenticity as they is
presented in both experimental and mainstream media. Themes such as
fictionalizing historical events (Kiarostami, 9-11 docudramas), repetition in
experimental media (Arnold, Jacobs), performance and playacting (Ra'ad,
Dougherty), memory and repression (Hitchcock) will be screened. Issues
regarding gender, identity, politics, history, technology, and copyright will
be addressed as raised by the work. Students are required to write weekly
responses to the films and readings and produce their own video work, as the
syllabus for the class will specify. On-line
registration
Course |
FILM 323 Thinking About Videogames |
|
|
Professor |
Ed Halter |
|
|
CRN |
17491 |
|
|
Schedule |
Tu 1:30 – 4:30 pm AVERY 110 |
|
|
Distribution |
OLD: A |
NEW: Analysis
of Art
|
Cross-listed: Science, Technology & Society
An analysis of computer gaming through philosophy,
history, cultural theory, and art. Topics include the nature of games and their
function in society, the qualities of human-computer interaction, the depiction
of gender, race, national identity and war, aesthetic theories of game design,
ludology versus narratology in game studies, “serious games,” game worlds and
virtual reality, videogame modification, machinima and artist-made videogames.
Readings include Wittgenstein, Winnicott, Huizinga, Callois, McLuhan, Jenkins,
Nakamura, Dibbell, Aarseth, Juul, Frasca, Poole, Atkins, Manovich, Bogost, and
Galloway. Requirements: previous coursework in film and
electronic arts, art
history or philosophy.